Notice: PixAI iOS App Temporarily Unavailable on the App Store — Dear PixAI users, The PixAI iOS app is currently unavailable for search and download on the App Store. We are actively w…
View details眼鏡が繋ぐユニット愛(シンデレラガールズ・《サクラブロッサム》)
「その眼鏡、度数とか大丈夫かしら?」 「ちなったんのだもん!大丈夫♪」 画面奥の大槻唯は本来眼鏡アイドルでは無いですが、実は変装時に画面手前の相川千夏の眼鏡を借りています。 2人のユニットである『サクラブロッサム』は、眼鏡という備品が、ユニットの絆となっているんですよね。 そういう意味では、結構数の多いデレステの眼鏡アイドルの中でも、この2人は特殊なのかなって思いました。 丁度過去に別のコンテストに投稿したプロンプトがあったので、少し変更してAIにお願いして出力しなおしましたね。 ユニットを意味する桜の花びらと共に、2人の可憐さが引き立つと嬉しいです。 諸事情もあり、クレジットがそろそろ底を尽きそうなので、ペースダウン必須ですね。 アイディアは割と浮かぶだけに、このもどかしさとも戦わなければならないみたいです(笑)。
Show Parameters
- Original Prompt
- 画面には相川千夏と大槻唯の2人しかいない 配置は画面右側手前に相川千夏 画面左側奥に大槻唯 相川千夏と大槻唯は左奥を向いた木製の手漕ぎボートに乗っておりそれぞれの体が向かい合う形で座っている 相川千夏 相川千夏の衣装はデフォルトの私服で眼鏡をかけている 画面右手前の相川千夏は背中側を向けて画面斜め左奥に身体を向けて座っており右手で本を読んでいる 相川千夏は首を左に向けて舞い降りて来た桜の花びらを左手の上に乗せている 相川千夏は大人の笑みを浮かべている 大槻唯 大槻唯の服装はデフォルトの私服だがデニムの長ズボンで相川千夏とお揃いの変装用の黒い縁取りの眼鏡をかけている 画面左側奥の大槻唯は画面右前に体を向けて座っており両手で左右のオールを漕いでいる 大槻唯は画面手前に首を向けており相川千夏の左手に舞い降りた桜の花びらを見て喜んでいる 背景は昼の桜の木が並ぶ川で桜の花びらが複数舞っている 桜の花びらの一枚が相川千夏の手のひらの上にふわりと降りている瞬間 tky_chatgpt_anime_boost_color_detail_line_anime_quality
- Mode
- pro
- Size
- 1408 x 1408
- Sampling Method
- Euler
- Negative
- lowres, worst quality, low quality, bad anatomy, explicit
Prompt Helper
Model & LoRA used
Similar Images
Show moreExplore more
Recommended Users
You might like
yoimiya!
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
Mine / 私のもの
みーちゃん
✦ ₊ ⊹ 🌑
(mai)
❌⃝✦—𝐇𝐄𝐘! 𝐘𝐨𝐮 𝐰𝐚𝐧𝐧𝐚 𝐜𝐨𝐦𝐞 𝐢𝐧?⬩➤“
𝐋𝐢𝐗𝐗𝐗┆秋峠鬼火~👻
the queen
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
the lancer
ᯓᯓ 𝙘𝙤𝙘𝙤𝙛𝙡𝙪𝙛𝙛𝙞
🎵Surtur
helanx
マシュ
Atlas
Sakura Chiyono O: A Springtime Portrait
AfterThoughts
Love live! School idol maid - Hanayo koizumi
AMnatsu
음안
character: eren_yeager, mikasa_ackerman
character: eren_yeager, mikasa_ackerman
Mikasa Ackerman and Eren Yeager are captured in the middle of a desperate ODM maneuver above a ruined city street, with Mikasa much closer to the camera and Eren cutting across the background at a different angle. Mikasa twists her entire body sideways as she launches past the viewer, one arm extended forward with a blade in hand while the other reaches back toward Eren. Her black hair whips violently across the frame and her red scarf streams far behind her in a long sweeping curve. Eren is several meters behind her, angled sharply in the opposite direction as his ODM cables stretch from his gear toward a damaged rooftop, his green jacket and hair blown backward by the speed of the maneuver.
The perspective is extremely dynamic: Mikasa's outstretched hand and blade are large in the foreground while her body rapidly narrows toward the center of the image. Eren appears smaller but perfectly clear behind her, creating a strong diagonal connection between them. Their ODM cables slice through the composition as thin steel lines, crossing the image at different angles and disappearing beyond the frame. One cable passes extremely close to the camera, creating a dramatic foreground line.
The ruined city beneath them is not shown as a wide landscape. Broken rooftops, shattered windows, hanging masonry, and fragments of brick rush diagonally through the lower portion of the composition, giving the impression of immense speed. Several pieces of debris are suspended around Mikasa and Eren, each frozen at a different distance from the camera. Dust catches the sunlight in thin atmospheric streaks.
Mikasa's Survey Corps uniform is sharply detailed and windswept, with the cropped brown jacket open over the fitted uniform, harness straps pulled taut across her body, white trousers, tall boots, and the Wings of Freedom insignia clearly visible. Eren wears his recognizable Survey Corps uniform and green jacket, with his harness, ODM equipment, and boots rendered with precise mechanical detail.
A subtle graphic-design layer is integrated into the composition without overpowering the action: Wings of Freedom emblem are overlaid across the sky, Thin white directional lines follow the trajectories of Mikasa and Eren, while small restrained military-style markings and typography sit along the edges of the frame. The graphic elements reinforce the movement rather than becoming random decoration.
The entire image is frozen at one extraordinary instant: Mikasa's scarf curves through the air, Eren's jacket flares behind him, cables are pulled completely taut, debris hangs in the air, dust streams diagonally through the sunlight, and both characters are caught at different points of the same sweeping maneuver. Nothing feels static.
Painterly digital anime illustration, expressive textured brushwork, cinematic motion frozen in a single frame, extreme wide-angle perspective, dramatic foreshortening, strong diagonals, layered depth, detailed characters, flowing hair and fabric, taut cables, airborne debris, warm sunlight cutting through cool gray ruins, muted military colors with Mikasa's red scarf as the strongest accent, sophisticated composition, subtle graphic design, powerful silhouettes, intense expressions, visceral sense of speed, beautiful atmospheric lighting, energetic, cinematic
음뭐지 안되서 다시 부계만듬
🍧💙
Janet reno
໒꒱· ゚◼️
生魚2(Raw Fish 2)
Gojo & Geto's Playful Selfie! ✨
Momo
The Empress of the Violet Abyss 👑💜
wisely
👻 💬 📂
(mai)
⋆⁺₊⋆🪞🕯️⋆⁺₊⋆
(mai)
(-_-)🚬⚡︎
(mai)
(っ.❛ ᴗ ❛.)っ🫧🐟
(mai)
🌩️🐾(⸝⸝ᵕᴗᵕ⸝⸝)⛳️
(mai)
❓
(mai)
耍车
星空sky
1
✧ 🍁 🧣 🍂 ✧
(mai)
(*˘︶˘*).。*♡ 🍁 ☕
(mai)
Comments2